Shore Leave
by Tony McAlinden
Summary: First Episode of my alternate Series 5. Written long before I saw the real one!
1. Waking Up

INT. COLLEGE DORM - DAY  
  
Although only a few minutes have passed since dawn, the sun barely above the horizon, it still casts enough light through the thin window blinds for us to see the room.  
  
The contents tell us a lot about the occupant.  
  
-- A state-of-the-art Macintosh laptop computer.  
  
-- A DVD player and 16:9 television.  
  
-- A stack of films on DVD. On top of the pile rests the collectors edition of "L.A. Confidential"  
  
-- A bookshelf, crammed with film texts - including the classics - the colourful cover of "Truffaut - Hitchcock" jumps out among from the grey hardcovers.  
  
-- The walls, covered in framed film posters, each the signature film of a classic director. Welles - Citizen Kane. Hitchcock - Psycho. Kurosawa - Seven Samurai. Scorsese - Raging Bull. Spielberg - Jaws.  
  
-- But one poster is unfamiliar even to the film buff. Brooks - Turn Away My Sweet.  
  
This poster takes pride of place, above the futon that is crammed into the limited space provided. Underneath the bold, modern design of the duvet cover - almost certainly sourced from a Scandinavian furniture store - two figures lie asleep.  
  
Of the man of the left, we can see little but a tall forehead. But the woman on the right, her long blonde hair spilling out and down onto the floor, has familiar blue eyes, which gradually FILL THE FRAME.  
  
VOICE (O.S.)  
  
Josephine, Josephine...  
  
MATCH CUT to another young woman's eyes as they snap open. They are equally striking, but she is definitely not a blonde.  
  
INT. WORTHINGTON DORM - DAY  
  
JOEY POTTER lies in her bed, covered by a somewhat more traditional, flowery duvet. Still half asleep, she mumbles loudly. Her roommate, CLARICE, is trying to wake her.  
  
JOEY sits up with a start.  
  
JOEY  
  
Heather Graham!!!  
  
CLARICE   
  
Hey - I wish, girl.  
  
CLARICE, although clearly not Heather Graham - on account of her black skin - is doing herself a disservice. She has the look of a young Halle Berry about her.  
  
JOEY  
  
Sorry Clarice. I guess I was dreaming...  
  
CLARICE  
  
Dawson?  
  
JOEY  
  
You know me too well. What time is it?  
  
CLARICE  
  
Coming up for nine a.m. But don't panic, lit lecture's cancelled, remember.  
  
JOEY  
  
(Rubbing her eyes)  
  
Well, skydiving's a dangerous sport. Lucky the teaching assistant was there to break his fall.  
  
CLARICE  
  
You're joking, right? Only I heard ...  
  
JOEY  
  
(Interrupting)  
  
... he got hit by a golf ball. Which is actually the truth, but since my imagination got off to an over active start this morning I thought I'd run with it. You had breakfast?  
  
CLARICE  
  
Nope. Murphy's  
  
JOEY  
  
Mmm. Hmm. Sounds good.  
  
She throws back her own duvet, covering the camera. 


	2. Meanwhile, on the West Coast

INT. EDITING ROOM - DAY  
  
DAWSON sits at digital editing suite, accompanied by a classmate. STEVE looks like a proper film geek, he has the forehead, big hair, and thick rimmed black glasses a la Soderbergh. They are both reviewing footage from a project.  
  
STEVE  
  
I don't know, Dawson. It's a wonderfully fluid shot. I'd hate to break it up with a cutaway.  
  
DAWSON  
  
I agree, Steve. Gliding camera - its Kubrick, its Scorsese, its De Palma. I know this. I don't get out much. Mr and Miss Eight Dollars a pop in the multiplex, on the other hand ...  
  
STEVE  
  
... want to see the story developed. And I know, it's all in the editing.  
  
DAWSON  
  
So you're okay with it, we can split it up?  
  
STEVE  
  
(Grinning)  
  
Obviously, I reserve the right to bring out a directors cut.  
  
DAWSON  
  
Feel free, but you'll regret showing the inside of the mothership...  
  
STEVE  
  
Hey, that's what the "Collector's Edition" is for. Anyway, I gotta go - I've got cinematography in ten.  
  
DAWSON  
  
Cool. I'll keep going on this - I've got the suite booked all afternoon.  
  
STEVE  
  
Later.  
  
DAWSON  
  
Adios.  
  
EXT. YACHT DECK - DAY  
  
A ROLL OF TOOLS lies on the gleaming white deck of a racing yacht, next to an open hatch on the decking.  
  
VOICE (O.S.)  
  
Okay Skip, turn her over.  
  
The vessels captain, in his early fifties and immaculately dressed in his white uniform, turns the engine over. It splutters twice then fires. He smiles.  
  
CAPTAIN  
  
Well done, Mr Witter.  
  
PACEY WITTER emerges from the hatch, covered in oil but otherwise intact. He switches off his flashlight and starts packing up his tools.  
  
PACEY  
  
My pleasure, Captain. Quite simple really, once the plugs were cleaned she fired up easily.  
  
CAPTAIN  
  
Well, Pacey. It wasn't pleasant to find myself stuck in the middle of a flat calm after twenty days under sail, and with a non-functioning motor. You've proved yourself to be just as good a mechanic as you are a yachtsman.  
  
PACEY  
  
Thank you, sir.  
  
CAPTAIN  
  
You know, we've got to put in for supplies in the next couple of days. I've got no preference where exactly. Is there anyone on the West Coast you'd like to look up.  
  
PACEY  
  
I do have an old friend from back home studying here. How close can we get to L.A.?  
  
The CAPTAIN opens his charts.  
  
CAPTAIN  
  
I'd prefer somewhere outside the city limits, but let's see. 


	3. Not High Schools Girls Anymore

INT. MURPHY'S DINER - DAY  
  
JOEY and CLARICE walk into the diner, selecting a table by the window. The waiter, dark-haired and handsome in his early thirties, approaches them.  
  
WAITER  
  
Hey - Joey Potter. You're not on until tonight.  
  
JOEY  
  
I know, Sean. Strictly customers this morning - our first class is cancelled.  
  
SEAN  
  
Well, it's our pleasure to have you girls in here.  
  
(To Clarice)  
  
Clarice.  
  
CLARICE  
  
(Shyly)  
  
Hi Sean.  
  
SEAN  
  
So, what can I get you?  
  
JOEY  
  
I'll have a couple of poached eggs and some toast.  
  
SEAN  
  
And, Clarice, let me guess. Pancakes.  
  
CLARICE  
  
Blueberry pancakes. You got it.  
  
SEAN  
  
Okay. Two coffees?  
  
Both girls nod.  
  
SEAN  
  
I'll be right back.  
  
CLARICE leans over the whisper to JOEY.  
  
CLARICE  
  
He is so cute!  
  
JOEY  
  
I know. It's that Irish American look about him. He looks like he ought to be in one of those pop groups.  
  
CLARICE  
  
What, like U2?  
  
JOEY  
  
(Defiantly)  
  
Not U2! They're a classic act. He looks as though he ought to be in one of those groups that appeal to, shall we say, younger teens.  
  
CLARICE  
  
Well, I'm just happy I've not got any competition.  
  
JOEY  
  
Clarice. I work here - remember? And he's like, at least ten years older than either of us.  
  
CLARICE  
  
Oh come on Joey. We're not high school girls anymore.  
  
JOEY  
  
No, we're not.  
  
She stares thoughtfully out of the window. 


	4. Making Movies

INT. EDITING ROOM - DAY  
  
DAWSON is still crouched over the editing computer, deep in concentration.  
  
Behind him, the door opens and ANNA walks in. She is a little older than him, tall, attractive, and vaguely Eastern European looking.  
  
DAWSON senses her presence, and starts to talk before turning around.  
  
DAWSON  
  
I've got this room booked all day, you'll have to ...  
  
He notices her  
  
DAWSON  
  
(Trailing off)  
  
... come back later.  
  
ANNA smiles back. DAWSON looks even more embarrassed.  
  
ANNA  
  
You are using the digital editor, I think, yes?  
  
DAWSON  
  
Yeah, I guess.  
  
ANNA holds up two film cans.  
  
ANNA  
  
I am using the Steinbeck. A little old-fashioned but I do not learn the computer yet, you know. I have no soundtrack at the moment so I should not distract you too much.  
  
DAWSON  
  
No, no. You won't distract me at all. Sorry for snapping at you. I'm Dawson.  
  
He holds out a hand, and she takes it.  
  
ANNA  
  
Hello Dawson. My name is Anna. It's nice to meet you.  
  
DAWSON  
  
(A little more composed, and turning on the charm)  
  
It's my pleasure. So, what are you shooting?  
  
ANNA  
  
At the moment - nothing. But I am keen to get started on this - I have been shooting it for - how do you say - seven years.  
  
DAWSON  
  
Wow! Why so long.  
  
ANNA  
  
Well, you know, film stock is so expensive - especially where I come from, in Croatia. I could only afford to shoot a little at a time. But I love film, you know, it looks so much nicer than video.  
  
DAWSON  
  
(Smiling)  
  
It does. But I'm a gadget boy. I shot a documentary last year and done the whole thing with one camcorder, a few lights and a laptop.  
  
ANNA  
  
You are very lucky.  
  
DAWSON  
  
We'll see. None of it matters if I haven't got what it takes. Speaking of which - we better get to work.  
  
ANNA  
  
Okay, and thank you again for letting me work.  
  
DAWSON holds up his palms.  
  
DAWSON  
  
It's no problem.  
  
They return to busying themselves with their respective technologies. 


	5. New Friends, Old Friends

EXT. HARBOUR - EVENING  
  
The yacht, "Silver Cloud" draws slowly into the harbour, heading for its dock. THE CAPTAIN and PACEY quickly shout orders to the other deck hands, and the process is soon complete.  
  
CAPTAIN  
  
Well, Pacey, I suggest you get cracking with your shore leave. We'll be leaving in thirty-six hours.  
  
PACEY  
  
Okay dokey. I'll be back before you know it.  
  
He shoulders his rucksack and steps onto the dock.  
  
INT. MURPHY'S - NIGHT  
  
JOEY is on her shift, working as a waitress in the diner. The place is packed, much busier than it was during the morning.  
  
It makes sense - its only a week from the beginning of term and none of the students have learned how to cook for themselves yet.  
  
At the tables are a few loud parties of co-eds, chattering away loudly. But she notices one customer, DOUGIE, sitting alone, reading an Iain Banks novel while he waits to get served.  
  
JOEY  
  
Hiya. What can I get ya?  
  
DOUGIE  
  
(In a thick Glaswegian accent)  
  
Em. Can ah have a coffee, and what do ye call those thingies. Aye, bagels. I'll have a couple of those. Cheese wans. Please.  
  
The look on JOEY's face confirms she didn't understand a word of it.  
  
JOEY  
  
(Smiling apologetically)  
  
I'm sorry, I didn't get any of that. Can you speak a little slower.  
  
DOUGIE  
  
Not again. I'm always forgetting I'm not back home any more. Can I have a black coffee and two cheese bagels, please.  
  
JOEY  
  
That's fine. Where are you from, are you Irish?  
  
DOUGIE  
  
Nearly. Scottish. Flew in from Glasgow last week. I'm here on a scholarship - studying Engineering at Worthington. But I'm forgetting my manners - my name's Dougie - pleased to meet you Joey.  
  
JOEY  
  
How did you know my name.  
  
DOUGIE  
  
Well, it's written right there on the badge.  
  
JOEY  
  
Sorry. My brain's asleep today. Anyway, I better get your order. Be right back.  
  
DOUGIE  
  
Be right here.  
  
INT. DAWSON'S COLLEGE DORM - NIGHT  
  
Sprawled head first on his futon, DAWSON watches "Lawrence of Arabia". OMAR SHARIF is onscreen.  
  
OMAR SHARIF  
  
They are good for riding. Try!  
  
DAWSON smiles in wonder at the amusing direct cut to PETER O'TOOLE trotting on a camel.  
  
There is a KNOCK at the door.  
  
DAWSON  
  
Wrong room. Brad's down the hall.  
  
PACEY  
  
(Through the door)  
  
Is he now. Well, I'm sure he's cute, but I'm not into guys, you know.  
  
DAWSON jumps out of bed and yanks open the door. The two friends embrace.  
  
DAWSON  
  
God. I've missed having you around, Pacey.  
  
PACEY  
  
(Grinning his Pacey grin)  
  
Good to see you, man. But you ought to put some pants on. People might start talking.  
  
DAWSON looks down at his frankly lame polka dot boxer shorts.  
  
DAWSON  
  
Mmm. Good idea.  
  
He grabs a pair of jeans off the chair and pulls them on.  
  
DAWSON  
  
So, you eaten? Want to grab dinner at Dennys? There's one a couple of blocks away and I've got the Jeep outside.  
  
PACEY  
  
Yeah, that's how I worked out what building you were in. It was just about the only thing in the parking lot that wasn't German.  
  
He sings:  
  
"Oh dad, won't you buy me  
  
A Mercedes-Benz  
  
The poor kids drive Wranglers  
  
I must make amends"  
  
DAWSON  
  
There's a lot of money around here, buddy. A lot of money. Anyway, let's get going.  
  
He is still barefooted.  
  
PACEY  
  
Shoes, Dawson?  
  
DAWSON  
  
Yeah. Good point. Well presented. 


	6. Old Friends, New Friends

INT. STATION WAGON - NIGHT  
  
The packed interior of the station wagon belies the fact that it's occupants are planning on being away from home for a while.  
  
CLOSE UP of the SPEEDOMETER, reading barely 50 mph.  
  
JACK  
  
I can't believe this thing won't go any faster. I knew we should have taken my car.  
  
JEN  
  
Jack - it's a Miata. Which cute as it is, is not exactly suitable for hauling our stuff to Boston. We're two weeks late anyhow - I don't think an extra hour on the journey is going to kill us.  
  
JACK  
  
I guess... I'm still feeling guilty about leaving Grams, though.  
  
JEN  
  
You heard Doctor Hibbert. She'll make a full recovery now - we were there for the worst of it.  
  
JACK  
  
She's going to miss not having us around, though.  
  
JEN  
  
Miss your haunted expressions and my angry chick music. Nah!  
  
JACK  
  
And I suppose that with the Leary's next door, she can keep her maternal instincts sharp by babysitting Lily.  
  
JEN  
  
You see - it's a new life for her - same as for us! WE'RE GOING TO COLLEGE!  
  
JACK  
  
(Sarcastically)  
  
Yay!  
  
INT. DENNY'S - NIGHT  
  
A standard all night eatery, lit with cheap fluorescent tubes that give a somewhat dingy feel. PACEY and DAWSON (now suited and booted), stroll to a booth.  
  
DAWSON  
  
So you were more or less the second in command? Neat.  
  
PACEY  
  
Yeah Dawson. Neat. But tough too - some of the other deck hands thought *they* were there for a holiday. Still, a bit of the old Witter discipline soon had them whipped into line. For once I was glad I grew up in a dysfunctional household - I can do the hollering at folks to a tee!  
  
DAWSON  
  
Well, I could do with a nice midnight breakfast. Haven't spotted a waitress yet, have you?  
  
PACEY is otherwise occupied. It's quite clear that he has spotted the waitress. And it's quite clear to us that she looks remarkably like ANNA. She approaches the booth, but DAWSON has his back to her, his face buried in the menu.  
  
ANNA  
  
Hey guys. What can I get you?  
  
PACEY  
  
Well, if we're talking about food... I'll have Eggs Benedict. And a coffee.  
  
DAWSON looks up from his menu, and recognition crosses his face.  
  
DAWSON  
  
Hey Anna! I didn't know you worked here...  
  
ANNA  
  
My first night. Please forgive me if I make any mistakes.  
  
DAWSON  
  
Oh, I'm sure you won't. Anyway, this is a friend from back home - Pacey, meet Anna.  
  
PACEY  
  
(with a cheesy grin)  
  
Hi Anna.  
  
(Beat)  
  
Oh, by the way Dawson, were you planning on ordering?  
  
DAWSON  
  
Yeah, right... I'll just have a coffee and some pancakes.  
  
ANNA  
  
Coming right up!  
  
In her accent, the American cliché sounds a little ridiculous. She heads towards the kitchen.  
  
PACEY gives DAWSON a knowing look.  
  
DAWSON  
  
Pacey. I just met her this afternoon, honest!  
  
PACEY  
  
Oh, yeah? Come on - I want to hear all about it. 


End file.
